OCAÑA

For decades, José Luis Pérez Ocaña has been completely ignored byhistorians of Spanish art. Featured more in newspapers in his day than in art galleries and journals, Ocaña is today being revived as aqueer artist, though this might be regarded as an act that dislocateshim from his own times, imposing on him genealogies and notions thatdo not reveal but rather mask the contexts in which thinking, art andpolitics developed in the post-Franco years, as well as thecounterculture of this period.When Andy Warhol was elevated in 1989,two years after his death, to the status of one of the most iconicartists of American art by the Museum of Modern Art, Douglas Crimpforced art historians to consider cultural and queer studies bypondering on the issue of "Getting the Warhol We Deserve". Today wemight ask: who is the Ocaña we deserve?This monograph is the firstever comprehensive study on Ocaña. As pointed out by Pedro G. Romero,who is responsible for the publication, it is also an attempt to"resituate some behavior that is all too often excluded from the realm of art, appearing as a mere fact of society and culture."